Music genre
Industrial
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Stylistic origins
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Cultural origins
| Early-to-mid-1970s, United Kingdom, United States (
Chicago
), and Germany
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Derivative forms
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- Australia
- Germany
- United Kingdom
- United States (
Chicago
)
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Industrial music
is a genre of
music
that draws on harsh, mechanical, transgressive or provocative sounds and themes.
AllMusic
defines industrial music as the "most abrasive and aggressive fusion of
rock
and
electronic music
" that was "initially a blend of
avant-garde
electronics experiments (
tape music
,
musique concrete
,
white noise
,
synthesizers
,
sequencers
, etc.) and
punk
provocation".
[2]
The term was coined in the mid-1970s with the founding of
Industrial Records
by members of
Throbbing Gristle
and
Monte Cazazza
. While the genre name originated with Throbbing Gristle's emergence in the United Kingdom, artists and labels vital to the genre also emerged in the United States and other countries.
The first industrial artists experimented with
noise
and aesthetically controversial topics, musically and visually, such as
fascism
,
sexual perversion
, and the
occult
. Prominent industrial musicians include Throbbing Gristle,
Monte Cazazza
,
SPK
,
Boyd Rice
,
Cabaret Voltaire
, and
Z'EV
.
[3]
On Throbbing Gristle's 1977 debut album
The Second Annual Report
, they coined the slogan "industrial music for industrial people". The industrial music scene also developed strongly in
Chicago
, with the city's
Wax Trax! Records
at one point leading the industrial music scene. The precursors that influenced the development of the genre included 1940s musique concrete and varied
world music
sources in addition to rock-era acts such as
Faust
,
Kraftwerk
,
the Velvet Underground
, and
Lou Reed
's
Metal Machine Music
(1975). Musicians also cite writers such as
William S. Burroughs
and
J. G. Ballard
, and artists such as
Brion Gysin
, as influences.
While the term was self-applied by a small coterie of groups and individuals associated with Industrial Records in the late 1970s, it was broadened to include artists influenced by the original movement or using an "industrial" aesthetic.
[4]
Over time, the genre's influence spread into and blended with styles including
ambient
, synth music and rock such as
Front 242
,
Front Line Assembly
,
KMFDM
, and
Sister Machine Gun
, acts associated with the
Chicago
-based
Wax Trax! Records
imprint.
Electro-industrial
music is a primary subgenre that developed in the 1980s, with the most notable bands in the genre being Front Line Assembly and
Skinny Puppy
. The two other most notable hybrid genres are
industrial rock
and
industrial metal
, which include bands such as
Nine Inch Nails
,
Ministry
,
Rammstein
, and
Fear Factory
, the first three of which released a platinum-selling album each in the
1990s
.
History
[
edit
]
Precursors
[
edit
]
Industrial music drew from a broad range of predecessors. According to the
Oxford English Dictionary
, the genre was first named in 1942 when
The Musical Quarterly
called
Dmitri Shostakovich's
1927
Symphony No. 2
"the high tide of 'industrial music'."
[5]
Similarly, in 1972
The New York Times
described works by
Ferde Grofe
(especially 1935's
A Symphony in Steel
) as a part of "his 'industrial music' genre [that] called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatic drill and a compressed-air tank".
[6]
Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. Early examples of industrial music are arguably found in
Pierre Schaeffer
's 1940s
musique concrete
and the tape music of
Halim El-Dabh
, the former of which is akin to the aesthetics of 1970s industrial music, while artists such as early 20th century Italian
futurist
Luigi Russolo
laid the groundwork for the genre with his book and work
The Art of Noises
(1913) reflecting "the sounds of a modern
industrial society
".
[7]
AllMusic
assessed 1960s English experimental group
AMM
as originators of the genre, as well as to
electronica
,
free improvisation
and
noise music
, writing that the "experimentation in sonic assault, noise, and
chance sound
(including
transistor radios
)" on their debut album
AMMMusic
(1967) would "reach the rock fringes in the work of industrial groups like
Test Dept
".
[8]
Cromagnon
's album
Orgasm
(1969) has been cited by AllMusic's Alex Henderson as foreshadowing industrial,
noise rock
and
no wave
, with the track "Caledonia" resembling "a
Ministry
or
Revolting Cocks
recording from 1989".
[9]
The 1970 album
Klopfzerichen
by
krautrock
band
Kluster
has also been called an early precursor of industrial music.
[10]
In the book
Interrogation Machine: Laibach and NSK
, Alexei Monroe argues that
Kraftwerk
were particularly significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music."
[11]
Industrial music was created originally by using mechanical and electric machinery, and later advanced synthesizers, samplers and electronic percussion as the technology developed. Monroe also argues for
Suicide
as an influential contemporary of the industrial musicians.
[11]
Groups cited as inspirational by the founders of industrial music include
the Velvet Underground
,
Joy Division
, and
Martin Denny
.
[12]
Genesis P-Orridge
of
Throbbing Gristle
had a cassette library including recordings by
The Master Musicians of Joujouka
,
Kraftwerk
,
Charles Manson
, and
William S. Burroughs
.
[13]
P-Orridge also credited 1960s rock such as
the Doors
,
Pearls Before Swine
,
the Fugs
,
Captain Beefheart
, and
Frank Zappa
in a 1979 interview.
The dissonant electronic work of
krautrock
groups like
Faust
and
Neu!
was an influence on industrial artists.
[15]
[16]
Chris Carter
also enjoyed and found inspiration in
Pink Floyd
and
Tangerine Dream
.
Boyd Rice
was influenced by the music of '60s
girl groups
and
tiki culture
.
[18]
Z'EV
cited Christopher Tree (Spontaneous Sound),
John Coltrane
,
Miles Davis
,
Tim Buckley
,
Jimi Hendrix
, and Captain Beefheart, among others together with
Tibetan
,
Balinese
,
Javanese
,
Indian
, and
African music
as influential in his artistic life.
[19]
Cabaret Voltaire cited
Roxy Music
as their initial forerunners, as well as Kraftwerk's
Trans-Europe Express
.
Cabaret Voltaire also recorded pieces reminiscent of
musique concrete
and composers such as
Morton Subotnick
.
Nurse with Wound
cited
a long list
of obscure
free improvisation
and
Krautrock
as recommended listening.
23 Skidoo
borrowed from
Fela Kuti
and Miles Davis's
On the Corner
.
Many industrial groups, including
Einsturzende Neubauten
, took inspiration from
world music
.
Many of the initial industrial musicians preferred to cite artists or thinkers, rather than musicians, as their inspiration.
Simon Reynolds
declares that "Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism."
[25]
John Cage
was an initial inspiration for Throbbing Gristle.
SPK appreciated
Jean Dubuffet
,
Marcel Duchamp
,
Jean Baudrillard
,
Michel Foucault
,
Walter Benjamin
,
Marshall McLuhan
,
Friedrich Nietzsche
, and
Gilles Deleuze
, as well as being inspired by the manifesto of the eponymous
Socialist Patients' Collective
.
[27]
Cabaret Voltaire took conceptual cues from Burroughs,
J. G. Ballard
, and
Tristan Tzara
.
Whitehouse
and
Nurse with Wound
dedicated some of their work to the
Marquis de Sade
; the latter also took impetus from the
Comte de Lautreamont
.
Another influence on the industrial aesthetic was Lou Reed's
Metal Machine Music
.
Pitchfork Music
cites this album as "inspiring, in part, much of the contemporary avant-garde music scene?noise, in particular."
[29]
The album consists entirely of guitar feedback, anticipating industrial's use of non-musical sounds.
The New York Times
described American
avant-garde band
the Residents
as having "presaged forms of punk, new wave and industrial music".
[30]
Early years
[
edit
]
Industrial Records
[
edit
]
Industrial Music for Industrial People
was originally coined by
Monte Cazazza
[31]
as the strapline for the record label
Industrial Records
, founded by British art-provocateurs Throbbing Gristle.
[32]
The first wave of this music appeared with Throbbing Gristle, from London; Cabaret Voltaire, from Sheffield;
[33]
and Boyd Rice (recording under the name NON), from the United States.
[34]
Throbbing Gristle first performed in 1976,
and began as the musical offshoot of the
Kingston upon Hull
-based
COUM Transmissions
.
[36]
COUM was initially a psychedelic rock group, but began to describe their work as
performance art
in order to obtain grants from the
Arts Council of Great Britain
.
COUM was composed of P-Orridge and
Cosey Fanni Tutti
.
Beginning in 1972, COUM staged several performances inspired by
Fluxus
and
Viennese Actionism
. These included various acts of sexual and physical abjection.
Peter Christopherson
, an employee of commercial artists
Hipgnosis
, joined the group in 1974, with Carter joining the following year.
[36]
The group renamed itself Throbbing Gristle in September 1975, their name coming from a northern English slang word for an erection.
[36]
The group's first public performance, in October 1976, was alongside an exhibit titled
Prostitution
, which included pornographic photos of Tutti as well as used tampons. Conservative politician
Nicholas Fairbairn
declared that "public money is being wasted here to destroy the morality of our society" and blasted the group as "wreckers of civilization."
The group announced their dissolution in 1981, declaring that their "mission" has been "terminated."
Wax Trax! Records
[
edit
]
Chicago record label Wax Trax! Records was prominent in the widespread attention industrial music received starting in the early 1980s. The label was started by Jim Nash and Dannie Flesher. The label's first official release was an EP in 1980 entitled
Immediate Action
by
Strike Under
. The label went on to distribute some of the most prominent names in industrial throughout the 1980s and 1990s. Wax Trax! also distributed industrial releases in the United States for the Belgium record label Play It Again Sam Records, and had opened a North American office dubbed Play It Again Sam U.S.A. as a division of Wax Trax!. Wax Trax! was subsequently purchased by
TVT Records
in 1992 who closed the independent Chicago label in 2001. Jim's Daughter, Julia Nash, resurrected Wax Trax! Records in 2011 with a 3-day charity event titled Wax Trax! Retrospectacle - 33 1/3 Year Anniversary. Julia officially released new material in 2014 under the Wax Trax! imprint and continues to run the record label from Chicago.
Expansion of the scene
[
edit
]
The bands
Clock DVA
,
[39]
Nocturnal Emissions
,
[40]
Whitehouse
,
[41]
Nurse with Wound
,
and
SPK
[43]
soon followed. Whitehouse intended to play "the most brutal and extreme music of all time", a style they eventually called
power electronics
.
An early collaborator with Whitehouse, Steve Stapleton, formed Nurse with Wound, who experimented with noise sculpture and sound collage.
Clock DVA described their goal as borrowing equally from
surrealist automatism
and "nervous energy sort of funk stuff, body music that flinches you and makes you move."
23 Skidoo, like Clock DVA, merged industrial music with African-American dance music, but also performed a response to world music. Performing at the first
WOMAD Festival
in 1982, the group likened themselves to Indonesian
gamelan
.
Swedish act
Leather Nun
were signed to Industrial Records in 1978, being the first non-TG/Cazazza act to have an IR-release.
[31]
Their singles eventually received significant airplay in the United States on
college radio
.
[46]
Across the Atlantic, similar experiments were taking place. In San Francisco, performance artist
Monte Cazazza
began recording
noise music
.
[48]
Boyd Rice released several albums of noise, with guitar drones and tape loops creating a cacophony of repetitive sounds.
[49]
In Boston,
Sleep Chamber
and other artists from
Inner-X-Musick
began experimenting with a mixture of powerful noise and early forms of
EBM
. In Italy, work by
Maurizio Bianchi
at the beginning of the 1980s also shared this aesthetic.
[50]
In Germany, Einsturzende Neubauten mixed metal percussion, guitars, and unconventional instruments (such as
jackhammers
and bones) in stage performances that often damaged the venues in which they played.
[51]
Blixa Bargeld, inspired by
Antonin Artaud
and an enthusiasm for
amphetamines
, also originated an art movement called Die Genialen Dilettanten.
Bargeld is particularly well known for his hissing scream.
In January 1984, Einsturzende Neubauten performed a
Concerto for Voice and Machinery
at the
Institute of Contemporary Arts
(the same site as COUM's
Prostitution
exhibition), drilling through the floor and eventually sparking a riot.
This event received front-page news coverage in England.
Other groups who practiced a form of industrial "metal music" (that is, produced by the sounds of metal crashing against metal) include
Test Dept
,
[54]
Laibach
,
[55]
and
Die Krupps
, as well as Z'EV and SPK.
Test Dept were largely inspired by
Russian Futurism
and toured to support the
1984-85 UK miners' strike
.
Skinny Puppy
embraced a variety of industrial forefathers and created a lurching, impalatable whole from many pieces.
Swans
, from New York City, also practiced a metal music aesthetic, though reliant on standard rock instrumentation.
Laibach, a
Slovenian
group who began while
Yugoslavia
remained a single state, were very controversial for their iconographic borrowings from
Stalinist
,
Nazi
,
Titoist
,
Dada
, and Russian Futurist imagery, conflating Yugoslav patriotism with its German authoritarian adversary.
[58]
Slavoj ?i?ek
has defended Laibach, arguing that they and their associated
Neue Slowenische Kunst
art group practice an overidentification with the hidden perverse enjoyment undergirding authority that produces a subversive and liberatory effect.
[59]
In simpler language, Laibach practiced a type of agitprop that was widely utilized by industrial and punk artists on both sides of the Atlantic.
Following the breakup of Throbbing Gristle, P-Orridge and Christopherson founded
Psychic TV
and signed to a major label.
Their first album was much more accessible and melodic than the usual industrial style, and included hired work by trained musicians.
Later work returned to the sound collage and noise elements of earlier industrial.
They also borrowed from funk and
disco
. P-Orridge also founded
Thee Temple ov Psychick Youth
, a quasi-religious organization that produced
video art
.
Psychic TV's commercial aspirations were managed by Stevo of
Some Bizzare Records
, who released many of the later industrial musicians, including Einsturzende Neubauten, Test Dept, and Cabaret Voltaire.
Around 1983, Cabaret Voltaire members were deeply interested in funk music and, with the encouragement of their friends from
New Order
, began to develop a form of dark but danceable
electrofunk
.
Christopherson left Psychic TV in 1983 and formed
Coil
with
John Balance
. Coil made use of gongs and bullroarers in an attempt to conjure "Martian," "homosexual energy".
David Tibet
, a friend of Coil's, formed
Current 93
; both groups were inspired by amphetamines and LSD.
J. G. Thirlwell
, a co-producer with Coil, developed a version of
black comedy
in industrial music, borrowing from
lounge
as well as noise and
film music
.
In the early 1980s, the Chicago-based record label
Wax Trax!
and Canada's
Nettwerk
helped to expand the industrial music genre into the more accessible
electro-industrial
and
industrial rock
genres.
[32]
Characteristics and history
[
edit
]
The birth of industrial music was a response to "an age [in which] the access and control of information were becoming the primary tools of power."
[69]
At its birth, the genre of industrial music was different from any other music, and its use of technology and disturbing lyrics and themes to tear apart preconceptions about the necessary rules of musical form supports the suggestion that industrial music is modernist music.
[69]
The artists themselves made these goals explicit, even drawing connections to social changes they wished to argue for through their music.
The Industrial Records website explains that the musicians wanted to re-invent rock music, and that their uncensored records were about their relationship with the world.
[70]
They go on to say that they wanted their music to be an awakening for listeners so that they would begin to think for themselves and question the world around them. Industrial Records intended the term
industrial
to evoke the idea of music created for a new generation, with previous music being more
agricultural
: P-Orridge stated that "there's an irony in the word 'industrial' because there's the music
industry
. And then there's the joke we often used to make in interviews about churning out our records like motorcars ?
that
sense of industrial. And ... up till then the music had been kind of based on the
blues
and slavery, and we thought it was time to update it to at least Victorian times?you know, the
Industrial Revolution
".
[71]
Early industrial music often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise, such as the work of early industrial group
Cabaret Voltaire
, which journalist Simon Reynolds described as characterized by "hissing high hats and squelchy snares of rhythm-generator."
Carter of Throbbing Gristle invented a device named the "Gristle-izer", played by Christopherson, which comprised a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds.
Traditional instruments were often played in nontraditional or highly modified ways. Reynolds described the Cabaret Voltaire members' individual contributions as "
[Chris] Watson
's smears of synth slime;
[Stephen] Mallinder
's dankly pulsing bass; and
[Richard H.] Kirk
's spikes of shattered-glass guitar."
Watson custom-built a fuzzbox for Kirk's guitar, producing a unique
timbre
.
Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle.
Tutti played guitar with a slide in order to produce
glissandi
, or pounded the strings as if it were a percussion instrument.
Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, naming this approach as "metabolic music."
Vocals were sporadic, and were as likely to be
bubblegum pop
as they were to be abrasive
polemics
. Cabaret Voltaire's Stephen Mallinder's vocals were electronically treated.
The purpose of industrial music initially was to serve as a commentary on modern society by eschewing what artists saw as trite connections to the past.
[70]
Throbbing Gristle opposed the elements of traditional rock music remaining in the
punk rock
scene, declaring industrial to be "anti-music."
Early industrial performances often involved
taboo
-breaking, provocative elements, such as
mutilation
,
sado-masochistic
elements and
totalitarian
imagery or symbolism, as well as forms of audience abuse,
[78]
such as Throbbing Gristle's aiming high powered lights at the audience.
[79]
Industrial groups typically focus on
transgressive
subject matter. In his introduction for the
Industrial Culture Handbook
(1983),
Jon Savage
considered some hallmarks of industrial music to be organizational autonomy, shock tactics, and the use of synthesizers and "anti-music."
[78]
Furthermore, an interest in the investigation of "
cults
, wars, psychological techniques of persuasion, unusual murders (especially by children and
psychopaths
),
forensic pathology
,
venereology
,
concentration camp
behavior, the history of
uniforms
and insignia" and
Aleister Crowley
's
magick
was present in Throbbing Gristle's work,
[80]
as well as in other industrial pioneers. Burroughs's recordings and writings were particularly influential on the scene, particularly his interest in the
cut-up technique
and noise as a method of disrupting societal control.
[81]
Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism.
[82]
Throbbing Gristle's logo was based on the
lightning symbol
of the
British Union of Fascists
,
[83]
while the Industrial Records logo was a photo of
Auschwitz
.
[84]
Expansion and offshoots (late 1980s and early 1990s)
[
edit
]
As some of the originating bands drifted away from the genre in the 1980s, industrial music expanded to include bands influenced by
new wave music
,
hip hop music
,
jazz
,
disco
,
reggae
, and
new age music
, sometimes incorporating pop music songwriting.
[85]
A number of additional styles developed from the already eclectic base of industrial music. These offshoots include fusions with noise music,
ambient music
,
folk music
,
post-punk
and
electronic dance music
, as well as other mutations and developments. The scene has spread worldwide, and is particularly well represented in North America, Europe, and Japan. Substyles inspired by industrial music include
dark ambient
,
power electronics
,
Japanoise
,
neofolk
,
electro-industrial
,
electronic body music
,
industrial hip hop
,
industrial rock
,
industrial metal
,
industrial pop
,
martial industrial
,
power noise
, and
witch house
.
Mainstream success (1990s and 2000s)
[
edit
]
In the 1990s, industrial music broke into the mainstream. The genre, previously ignored or criticized by music journalists, grew popular with disaffected middle-class youth in suburban and rural areas. By this time, the genre had become broad enough that journalist
James Greer
called it "the kind of meaningless catch-all term that new wave once was".
[86]
A number of acts associated with industrial music achieved commercial success during this period including
Nine Inch Nails
,
Marilyn Manson
,
Rammstein
and
Orgy
.
Through the 1990s Nine Inch Nails and Marilyn Manson had several albums and EPs certified platinum by the
Recording Industry Association of America (RIAA)
, including Nine Inch Nails'
Broken
(1992),
[87]
The Downward Spiral
(1994)
[88]
and
The Fragile
,
[89]
, and Marilyn Manson's
Antichrist Superstar
(1996)
[90]
and
Mechanical Animals
.
[91]
See also
[
edit
]
- ^
Fisher, Mark (2010). "You Remind Me of Gold: Dialogue with Simon Reynolds".
Kaleidoscope
(9).
- ^
"Industrial"
.
AllMusic
. All Media Network
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May 5,
2017
.
- ^
V.Vale.
Re/Search #6/7: Industrial Culture Handbook
, 1983.
- ^
"... journalists now use 'industrial' as a term like they would 'blues.'"?Genesis P-Orridge,
RE/Search
#6/7, p. 16.
- ^
"Industrial"
.
Oxford English Dictionary
(Online ed.).
Oxford University Press
.
(Subscription or
participating institution membership
required.)
- ^
Henahan, Donal (April 4, 1972).
"Limned the Landscape"
.
The New York Times
: 46
. Retrieved
November 17,
2018
.
- ^
Brown, Barclay (1981).
"The Noise Instruments of Luigi Russolo"
.
Perspectives of New Music
.
20
(1/2): 31?48.
doi
:
10.2307/942398
.
JSTOR
942398
.
- ^
Olewnick, Brian.
"Ammmusic Review by Brian Olewnick"
.
AllMusic
. Retrieved
August 23,
2022
.
- ^
Henderson, Alex.
"Orgasm Review by Alex Hederson"
.
AllMusic
. Retrieved
August 23,
2022
.
- ^
"KLUSTER - Forced Exposure"
.
www.forcedexposure.com
. Retrieved
May 2,
2023
.
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a
b
Monroe, p. 212
- ^
RE/Search
#6/7, p. 11?12.
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RE/Search
#6/7, p. 19.
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.
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.
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April 27,
2020
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b
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.
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a
b
Kilpatrick, Nancy
.
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ISBN
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, p. 86.
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RE/Search
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a
b
c
RE/Search
#6/7, p. 17.
- ^
Ankeny, Jason.
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.
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- ^
Torreano, Bradley.
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.
AllMusic
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. Retrieved
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2009
.
- ^
Schaefer, Peter.
"Whitehouse Biography"
.
AllMusic
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.
- ^
RE/Search
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- ^
Sutton, Michael.
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Torreano, Bradley.
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- ^
Huey, Steve.
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AllMusic
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- ^
Bush, John.
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Monroe, p. 222.
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Monroe, p. 96.
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Slavoj ?i?ek,
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a
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RE/Search
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Ford, 8.10
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RE/Search
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"These ideas contributed some of the theoretical mise-en-scene for emergent Industrial groups such as Throbbing Gristle, SPK, and Cabaret Voltaire, all of whom experimented with cut-up sound and re-contextualised ambient recordings." Sargeant, Jack, "The Primer: William S. Burroughs,"
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RE/Search
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Webb, Peter (2007).
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Woods, Karen (March 1992).
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References
[
edit
]
- Ford, Simon
(1999).
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. London: Black Dog Publishing.
ISBN
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OCLC
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'The Land of Rape and Honey': The Use of World War II Propaganda in the Music Videos of Ministry and Laibach".
American Music
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22
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doi
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10.2307/3592974
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JSTOR
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ISBN
9780199832606
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1147729910
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Rip It Up and Start Again: Postpunk 1978?1984
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ISBN
0571215696
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OCLC
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- Vale, V.; Juno, Andrea, eds. (1983).
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- Ballet, Nicolas. (2023)
Shock Factory: Culture visuelle des musiques industrielles (1969-1995)
Les presses du reel, Music & Sound Arts, ISBN 978-2-37896-222-7
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